談及電影:
Lady in Distress (1957)
A Mellow Spring (1957)
Many Enchanting Nights (1966)
The Stranger (1969)
At Dawn (1968)
Four Moods (1970)
Li is chiefly known for his costume pictures, though he reveals a talent for more intimate fare, as seen in The Winter (1969), which I commented on earlier. His early HK films, like Lady in Distress (1957) and A Mellow Spring (1957), are fairly typical Mandarin-language melodramas, with comparatively high production values and centering on suffering heroines…
Li’s direction here is simple and traditional. He uses fairly distant staging, presenting shot/ reverse-shot breakdown of dialogues and camera movements that adjust to the characters’ movements…
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作者: David Bordwell
刊於: David Bordwell’s website on cinema: Observations on film art and Film Art
April 17th, 2007
談到幾齣電影:
父子 (香港)
危險人物 (香港)
莫失莫忘（前譯：愛情征服一切）(馬來西亞)
喜怒哀樂 (台灣) (李翰祥)
After This Our Exile (Hong Kong, 2006)
To say the least, I did not feel let down at all by this compelling father and son drama — and this even though it stars one of my least favorite Hong Kong actors in Aaron Kwok…
Undercover (Hong Kong, 2007)
the bald truth of the matter is that this shot-on-digital video offering can’t help but suffer quite a bit in comparison. And although its two male stars actually are ones whose movie appearances I often do look forward to seeing, their sturdy (in the case of Shawn Yue) and charismatic (in the case of Sam Lee) presence just couldn’t make up for their characters being caught in a story that’s tired, hackneyed and unneccessarily possesses the kind of misogynistic overlay that tales about heng tai don’t really need to have…
Love Conquers All (Malaysia, 2006)
This Malaysian indie effort has a reputation for being a favorite with film festival juries…
I wasn’t impressed by this effort’s acting, cinematography, editing and musical choices, never mind story and other content. Also, I didn’t feel any sense of tension or empathy for the main characters…
In a nutshell: In a film festival that appears to have had too many films with stupid protagonists, this work’s main character gets the prize for being the dumbest of them all.
Four Moods (Taiwan, 1970)
Like John Woo, the late Li Han-Hsiang is remembered these days as one of Hong Kong cinema’s biggest auteurs. However, as with more than one now vaunted Hong Kong filmmaker, he also had a spell in Taiwan, during which he got into financial trouble.
To help him get through his dire straits, three of Taiwan’s top directors in Bai Jingrui, King Hu and Li Xing decided to band together with Li Han-Hsiang to make a movie that would consist of four separate stories, each of which would be directed by one of this quartet of auteurs…
Unlike all the other works which I’ve previously viewed, this one didn’t feature an elaborate set or pretty costumes…
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作者: YTSL
刊於: WEBS OF SIGNIFICANCE
April 13th, 2007
《紅樓夢》本來就不是一部能輕易改成其他文本的書，要讓新文本包括著它所有的意義根本沒有可能（讀者「誤讀」所生的意義可謂無限，怎可能有一個能完全概括的文本？）。《金玉良緣紅樓夢》是一部俗本的紅樓夢，細膩的位子免了，層次也都去掉了，只簡簡單單的說一件情事。（…閱讀全文）
作者：嘉
刊於：拜物小姐戀物誌
April 12th, 2007
Film director Li Han-hsiang didn’t benefit from the 1980s-1990s explosion of interest in Hong Kong cinema. For one thing, most of his films were for Shaw Brothers, and those were hard to find on video. For another, Li worked in genres that didn’t attract many fanboys and fangirls. As a result, he’s not as well known as his Shaws compadres Chang Cheh, King Hu, and Lau Kar-leung.
Although opinions about his directorial skills vary, there’s no denying his historical importance. Besides making over 100 films, Li both shaped and reflected several trends in local cinema. A massive retrospective of his work has begun at the Hong Kong Film Archive during the festival, and it will continue well into May.
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作者: David Bordwell
刊於: David Bordwell’s website on cinema: Observations on film art and Film Art
April 9th, 2007
